The greatest triumph of GATEKEEPERS is the filmmaker’s ability to persuade the former heads of Israel’s Secret Service to speak so openly, writes Sarah McIntosh.
Michael Grigsby’s final film is an outstanding and immensely moving examination of the true cost of war, writes Gavin Midgley.
Today’s date in 1944 saw the Crimean offensive in full flow. Douglas Sirk sets a glossy romance against the grim backdrop of the Russian-German front.
Although TRANCE is engaging and evokes his finest work, lack of empathy and glib plot ‘twists’ determine its future as a footnote in Boyle’s career, writes Jim Ross.
The chatter from fans was positive despite not nearly enough people watching it at the cinema, and, let’s face it, it had to be better than the Stallone version. Jen Williams reviews DREDD.
Harmony Korine’s SPRING BREAKERS is a vivid depiction of the annihilation of innocence and American idealism, writes Edward Frost.
Henry Fool is a Luddite ronin with a skeleton in his closet and an albatross around his neck. Rosy Hunt looks back at a Shakespearian Hartley classic.
Paul Bush has attempted the impossible: a “documentary about the future.” But too many ideas have spoilt the cold, stomach-leadening broth of BABELDOM, writes Florence Smith-Nicholls.